The 67th annual Grammy Awards took place on Sunday, Feb. 2 at Crypto.com arena, hosted by Trevor Noah, now a veteran of the broadcast, for the fifth consecutive year. Though this show is no stranger to Los Angeles, it was surrounded this time by a change in scenery, following a January marked by two of the city’s most destructive and expensive wildfires on record, which claimed a combined 37,469 acres across Altadena and the Pacific Palisades.
But alas, the show must go on, albeit in a more muted register; several events traditionally held in the week leading up to the Sunday night program were canceled due to the environmental devastation and ongoing rebuilding efforts, namely those held by Universal Music Group, Sony, Spotify, BMG, and Warner Music Group, all of which have allocated resources to help affected citizens. (The Recording Academy, which has presented the Grammys since 1959, launched the Los Angeles Fire Relief Effort in tandem with its MusiCares charity with a $1 million dollar donation.) By 11:30 ET, the telecast had already raised $7 million for relief efforts, with Noah at one point joking about charging winners $1,000 per minute for going over 90 seconds in their acceptance speeches.
Despite the tragedy that hung in the air, the 2025 Grammys were still a celebration, both of history an of contemporary music. For the first time since 1997, the Beatles earned new Grammy nominations (and nabbed one win). The late, former president Jimmy Carter (who was nominated for his audiobook, Last Sundays In Plains: A Centennial Celebration, at age 100) is now the oldest award nominee and winner in Grammy history. And in a night-defining moment, Beyoncé finally won Album of the Year after many years of perceived snubs in the biggest category of the ceremony—and she achieved that after earlier in the evening becoming the first Black woman to win an award in a country category since the Pointer Sisters in 1974. She and Charli XCX tied with three wins, while Kendrick Lamar won the most of the evening, taking home five, and roots artist Sierra Ferrell won four (all off-screen).
Read on for the highs and lows of the evening.
Most Tone-Setting Tribute: “I Love L.A.”
Brittany Howard, Sheryl Crow, St. Vincent, Taylor Goldsmith of Dawes and Brad Paisley perform the Grammys’ opening numberAmy Sussman—Getty Images
Sunday night’s show opened with a celebration of Los Angeles, a highly intentional theme which continued throughout the night. The “I Love L.A.” tribute was an ode to the beauty of a city now compromised by natural disaster: Noah’s opening monologue shouted out Chappell Roan’s ode to the clubs of the city, and the sibling powerhouse duo Billie Eilish and Finneas who converted their bedroom there into a hitmaking studio. John Legend, Sheryl Crow, St. Vincent, Brittany Howard, and Brad Paisley all joined the stage with Dawes, a group that lost its studio, equipment, and one member’s home, to the fire. The group sang Randy Newman’s 1983 song of the same name, set to footage paying tribute to L.A. firefighters.
But support for the city didn’t stop at the top of the show. Noah’s mentions of the wildfires and calls for donations continued over the course of the night, with contributions from major companies rolling in as the show played on, as well as appeals to attendees in the room. The show also provided small local L.A. businesses impacted by the fires with free commercial airtime, including a florist called Orla Floral Studio (joined by a cameo from Doja Cat), based in Altadena, and Rhythms of the Village, also in Altadena, which Anderson .Paak visited. Later in the evening, singers from two schools destroyed in the fire joined Herbie Hancock and Stevie Wonder for a rendition of “We Are the World” during a Quincy Jones tribute, and members of the LAFD presented the award for Album of the Year after receiving a standing ovation from the crowd.
Best Cinderella Story: Doechii
Doechii accepts the Best Rap Album Award for “Alligator Bites Never Heal” during the 67th Grammy Awards JC Olivera—WireImage via Getty Images
Doechii joined the ranks of just two female emcees before her—Lauryn Hill and Cardi B, the latter of whom presented the award—when she won for Best Rap Album for her mixtape “Alligator Bites Never Heal.” The 26-year-old singer and rapper from Tampa, Fla., known for her clever use of irony and unapologetic storytelling, has quickly proven herself to be a strong addition to T.D.E.’s star-studded roster with breakout hits like “What It is (Block Boy),” “Persuasive,” and “Denial is a River.” “God told me that I would be rewarded and he would show me just how good it can get,” Doechii said as she accepted her award, joined by her mother onstage. “I know that there are so many Black women out there watching me right now and I just want to say you can do it…don’t allow anybody to project any stereotypes on you…I am a testimony.” Later on in the evening, Doechii delivered a powerfully free-spirited performance of “Denial is a River,” her tongue-in-cheek breakout single from the project she won the award for.
Shortest and Sweetest: Sabrina Carpenter
Sabrina Carpenter performs a medley at the 67th Annual GrammysKevin Mazur—Getty Images for The Recording Academy
Sabrina Carpenter’s medley of “Espresso” and “Please Please Please” began with a jazzy rendition of the former hit (which was also acknowledged in a buzzy commercial from Dunkin Donuts advertising the singer’s specialty latte with the coffee retailer). Carpenter entered the stage in a glittery tuxedo dress she soon ripped off to reveal a bedazzled baby blue bodice, after a series of playful intentional errors, now part of her comedic schtick. Carpenter won the night’s “Best Pop Vocal” award for Short n Sweet presented by Anthony Kiedis and Chad Smith of L.A.’s own Red Hot Chili Peppers, marking her first Grammy win. She thanked fans, the Recording Academy, and her mom for driving her to every vocal lesson, before innocently wondering aloud if it was okay that she said “hell” three times in her acceptance speech.
Most Historic: Beyoncé’s Country Grammy Haul
Beyoncé radiated pure gratitude and shock when she accepted the award for Best Country Album, presented by Taylor Swift, who won the category 15 years ago. The award came after winning best country duo/group performance earlier in the day for “II MOST WANTED” with Miley Cyrus, the first time in 50 years that a Black woman won a country music Grammy. Cowboy Carter made waves as an explicit hat tip to country music and a celebration, more specifically, of the Black American musicians who created and advanced the genre historically to little acknowledgement by the establishment and audiences alike. “Sometimes genre is a code word to keep us in our place as artists and I just want to encourage people to do what they’re passionate about and to stay consistent,” Beyoncé said, before thanking God, her family, her fans, and the country artists who accepted the album and her presence in the country market.
Read more: How Beyoncé Fits Into the Storied Legacy of Black Country
Most Literal Performance: “Pink Pony Club”
Chappell Roan on her pink ponyChristopher Polk—Billboard via Getty Images
Pop darling Olivia Rodrigo introduced “Midwest Princess” Chappell Roan’s performance of “Pink Pony Club.” The rousing show was marked by pink, illuminated steam rising up from the stage and a “Pink Pony Club” sign above, alongside a sign that read “My Drink is Karma,” a wink at her track “My Kink is Karma.” Roan belted from a larger-than-life pink pony, playful and cartoonish and reminiscent of the singer’s makeup for the night. The back-up dancers were a colorful mix of rodeo clowns, the performance ending with a passionate guitar display and an expression of confident satisfaction from Roan.
Most Passionate Use of the Platform: Chappell Roan
Best New Artist winner Chappell Roan followed up her rousing performance with a sober call to action—as she said she promised herself she would if she ever had the Grammy stage as a platform with the most powerful people in music listening. Roan implored the major label establishment to offer a livable wage and healthcare, especially to developing artists. She cited her own experience as an artist who was signed to a label as a minor and subsequently dropped as something that radicalized her when she realized how deeply she was committed to her art while still struggling to make a living, particularly during the COVID-19 pandemic. The award, one of the night’s most anticipated, was presented by last year’s winner Victoria Monet. In her acceptance speech, Roan thanked her fellow nominees, producer Dan Nigro, friends, family, her Papa Chappell “who I named myself after,” and “all who listened.” “Labels,” she said, “we got you, but do you got us?”
Most Passionate Calls for Love and Unity: Gaga, Alicia Keys, Shakira
Honoree Alicia Keys accepts the Global Impact Award on Feb. 02, 2025Kevin Mazur—Getty Images for The Recording Academy
Following Roan’s direct approach, several other artists used the stage post-win to bring a spirit of love and activism into the evening. When Queen Latifah presented the Global Impact award to Alicia Keys, the singer-songwriter acknowledged the importance of DEI efforts, currently under attack by the Trump administration, calling them “not a threat, [but] a gift,” adding: “The more voices, the more powerful the sound.” Lady Gaga, during an acceptance speech for her Best Pop Duo win with Bruno Mars for “Die With a Smile,” addressed attempts to limit the rights of trans people: “Trans people are not invisible, trans people deserve love, the queer community deserves to be lifted up. Music is love.” And Shakira, who won for Best Latin Pop Album, dedicated her award to all of her “immigrant brothers and sisters in this country” on the same day that thousands of people blocked L.A.’s 101 Freeway protesting ICE: “You are loved, you are worth it, and I will always fight with you,” she said.
Most Exciting Outfit Changes: Half the Best New Artists
Benson Boone gets some air in the flared, sparkling jumpsuit he’d been hiding underneath his tuxJC Olivera—WireImage via Getty Images
Tonight’s Best New Artist nominees, including Shaboozey, Teddy Swims, Benson Boone, RAYE, Khruangbin, Doechii, Sabrina Carpenter, and Chappell Roan, wowed onstage during their performances, with many of them using surprising outfit changes to leave their marks. Doechii and her ensemble of dancers rocked custom Thom Browne schoolboy outfits, a less feminine take on the “office siren” fashion trend; the rapper ditched her own mid-performance to reveal a matching underwear set. Benson Boone started his performance, seated next to J. Lo, from his table in the audience, then snatched away his traditional suit to show off a bedazzled baby blue jumpsuit before ascending to the stage and somersaulting off of the piano. And Sabrina Carpenter’s demure black ensemble was magically replaced by a vibrant blue one, a move in keeping with her sultry yet coy performance style.
And further diversifying the night’s country genre, new talent Shaboozey (who was featured twice on Beyoncé’s Cowboy Carter) performed his new song “Good News” and his 2024 hit “A Bar Song (Tipsy)” against a bandana-inspired backdrop, brandishing a bolo tie and backup dancers-as-cowgirls line dancing. No outfit change there, but memorable nonetheless.
Read more: RAYE Can’t Escape Her Success
Most Show-Stopping and Star-Studded: Quincy Jones Tribute
Herbie Hancock and Stevie Wonder during the Grammys’ Quincy Jones tributeChristopher Polk—Billboard via Getty Images
A tribute to the late Quincy Jones, a 28-time Grammy-winning producer, conductor, trumpet player, recording artist, and composer for film and television, was a show-stopping moment in the evening’s broadcast, featuring a medley of jazz and pop performances by an intergenerational mix of musical legends. Cynthia Erivo, accompanied on piano by Herbie Hancock, sang the hell out of “Fly Me to the Moon” to a standing ovation from the audience. Best Country Album nominee Lainey Wilson and multi-instrumentalist Jacob Collier followed with a duet of “Let the Good Times Roll,” and Stevie Wonder was joined by Hancock for a rendition of “We Are the World,” along with a choir of student singers from Pasadena Waldorf School in Altadena and Palisades Charter High School, both of which were tragically impacted by the recent wildfires.
Will Smith narrated the tribute, punctuating the performances with memories of working with Jones on The Fresh Prince of Bel-Air, saying “You probably wouldn’t even know who Will Smith was if it wasn’t for Quincy Jones.”
Janelle Monáe closed the tribute with an homage to Michael Jackson and Quincy Jones’ historic Thriller album, performing “Don’t Stop Til You Get Enough” with an outfit and moonwalk moves that were a facsimile of Jackson’s iconic style.
Read more: How Quincy Jones Helped Make Thriller The Biggest Album of All Time
Most Energetic: Tie Between Shakira and Charli XCX
Sunday night’s performances were brimming with talent, but perhaps none were more uniquely exciting than those of Shakira and Charli XCX. Shakira owned the stage during her first Grammy performance since 2007 with her classic belly dancing, bringing the heat and power of Latin music to the broadcast, which was notably absent otherwise. And Charli XCX, the music industry’s resident club kid, closed out her “brat” era in the only way she could: with a rowdy, rave-like party-meets-Boiler Room set on stage filled with friends and cultural icons as seen in her music video for “Von Dutch,” also playing “Guess” (“the color of my underwear”…in her underwear. Billie Eilish was singing along from the audience).
Best Prelude to the Super Bowl: Kendrick Lamar
Record of the year, one of the most anticipated categories of the night, was presented by Miley Cyrus, who first used the stage time to acknowledge her joint win with Beyoncé for their duet “II Most Wanted” before also giving some shine to her custom Alaia gown, quipping with her classic Southern drawl, “Yeah, it’s sickening.” But the moment was made more electric by Kendrick Lamar’s win for “Not Like Us,” a record that was nearly inescapable in the culture since its release last May. Joined onstage by DJ Mustard, the song’s producer, Lamar started by naming his aunt who passed away just yesterday, later adding: “We gon’ dedicate this one to the city,” shouting out the L.A. neighborhoods that helped shape him and his artistry, including Compton, Watts, Long Beach, Hollywood, and Pacoima. Lamar also spoke directly to the impacted families of Altadena and the Pacific Palisades, calling his award “a testament to the fact that we gon’ continue to restore the city.” Lamar will take an even bigger stage in one week’s time when he headlines the Super Bowl Halftime Show in New Orleans.
Most Grammy Love for a Diss Track: Kendrick (Again)
Kendrick Lamar accepts the Song of the Year award for “Not Like Us”Johnny Nunez—Getty Images for The Recording Academy
Diana Ross walked out, looking angelic in a white tulle gown, to a standing ovation to present the award for Song of the Year, which Kendrick Lamar won for “Not Like Us.” With five wins in the evening, the song is undoubtedly the most successful diss track in recent memory, making Drake’s absence at the show all the more glaring (and arguably understandable). Also, thanks to the fact that the song won all five categories it was nominated in, it is now the most awarded rap song in Grammys history. Lamar admitted to being “starstruck” accepting the award from Ross, then dedicated the award to his longtime partner Whitney Alford, who stars in the music video, and shouted out local, more underground rap acts from L.A. who paved the way for him. “Nothing is more important than rap music,” he said, imploring those coming up behind him to “respect the art form.”
Longest Overdue: Beyoncé Wins Album of the Year
Blue Ivy Carter looks on as her mother Beyoncé accepts the award for Album of the Year for Cowboy CarterChristopher Polk—Billboard via Getty Images
Members of the LA Fire Department arrived onstage in full uniform to a lengthy standing ovation, and the two fire chiefs presented the award for Album of the Year, the final award of the broadcast. Ahead of this year’s Grammys, Beyoncé’s repeated snubs in this category—despite being nominated four times, making this year her fifth nod—was well documented and discussed. (Some will recall when her husband Jay-Z publicly addressed this from the stage at last year’s show.)
But this year, Beyoncé, the 35-time Grammy Award winner (who was nominated for 11 tonight alone) took home the trophy for Cowboy Carter, the second of three acts in a trilogy started by 2022’s Renaissance. This marks her first win in the category, and the first time a Black woman has won Album of the Year in the 21st century. Her fellow artists, including Lady Gaga and Billie Eilish, were teary in the audience following the history-making win.
After a heartfelt acknowledgment of L.A.’s firefighters, she said: “I just feel very full and very honored, it’s been many many years, and I just want to thank the Grammys, every singer, writer, collaborator, and producer.” She dedicated the award to Linda Martell, the 83-year-old who was the first commercially successful Black female artist in the country music genre and the first to play the Grand Ole Opry. “I hope we keep pushing forward and opening doors,” Beyoncé added, closing out the evening.
